Prey For Rock & Roll

There really is nothing sadder than an aging rock 'n' roll diva
clinging to the dream after years of getting nowhere. Jackie,
the heroine (of a sort) in Cheri Lovedog's new musical (of a sort)
Prey for Rock & Roll, is turning 35, and after 10 years
of her all-chick band "Clam Dandy" being overlooked
by record producers, questioning whether or not to pack it in
and "get a real job."

Following in the footsteps of Hedwig and the Angry Inch,
Lovedog's new rock musical has an interesting premise, and with
a firmer focus and stronger guiding hand could be nearly as potent
as that recent long-run success.

But as it currently stands, Prey for Rock & Roll was
not written or directed with the cohesive sense of purpose that
made Hedwig such an extraordinary (and commercial) piece
of theatre. Lovedog has not been able to resist the first-time
playwright's penchant for throwing every stock situation and character
into the mix, and the production, under Robin Whitehouse's unfocused
direction, wandered aimlessly from subplot to subplot. Lovedog's
driving, earsplitting classic rock score notwithstanding, the
angry promise of the idea got overwhelmed by the soap-opera machinations
of the overplotted story.

As Jackie, Lovedog had a way with a sarcastic zinger, and her
likable, matter-of-fact stage presence effectively masked her
shortcomings as an actress. As the dying lead guitarist Faith,
Jan Tilley, while a terrific musician, did not possess
a sparkling stage persona. Except when riffing on her guitar,
she appeared self-conscious and flat, her melodramatic death scene
made unintentionally funny by her inability to meet the dramatic
demands imposed upon her.

As the group's young drummer Sally, c.c. seymour was touching
in a difficult role. As the trashy bass guitarist Tracy, Jackie
Kamm, who was so good in last season's Watching and Waiting,
once again displayed that natural ability that causes one to sit
up and take notice - she is a damn good actress. Likewise, Lou
Sumrall, as Sally's ex-con brother, commanded attention with
every subtle movement - his role may have been one-dimensional,
but his performance was rich with intelligent detail. As Tracy's
no-good boyfriend, Eric Wippo was whiny and obnoxious,
hardly convincing as a bullying, macho-pig rapist. (Watch those
wrist movements, girl.)

The smoky, grunge atmosphere of CBGB's was the perfect setting,
the uncredited lighting was serviceable, and Tina Montalbo's
costumes and "styling" gave the characters a life that
wasn't necessarily inherent in the writing.

When Lovedog, as Jackie, dropped all pretense and addressed herself
and her fears directly to the audience, Prey for Rock &
Roll came closest to fulfilling its potential for another
ground-breaking musical. Unfortunately, those quiet, introspective
moments that so clearly pointed the way to what the show could
be were few and far between, buried in a jumble of noise that
did not service the score, the play or the performers. And that
may be the one thing sadder than any aging rock 'n' roll diva
ever could be.